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Lot 92
^ A Chinese Porcelain Seal Paste Box and Cover, circa 1936, of circular form, painted with a winter scene with a palace and trees, bears mark for He Xuren and with presentation inscription from Li Futian to Mr Zhengpo in the Spring of Bingzi Year (1936), four-character seal mark in blue, 8cm diameterWith Peter Wain Antiques, 1995Ex Kaynes-Klitz CollectionCondition report: Base section with two chips to the rim, good condition otherwise
Lot 94
^ A Pair of Chinese Porcelain Vases, by Zhai Xiao Xiang, circa 1996, of flattened pear shape, painted in famille rose enamels with mirror-image scenes of pairs of birds perched on blossoming branches in panels on a celadon ground with inscriptions and seal marks, four-character marks in red, 34cm high, with presentation boxes and certificate signed by the artistExhibited at Olympia, Fine Art and Antique Fair, February 25th - 3rd March 1997With Peter Wain Antiques, 1998Footnote: Zhai Xiao Xiang is one of just eight senior masters currently working Jiangdezhen and the only one still painting in the traditional Imperial style. He is senior master at the Art Porcelain Factory which is the direct descent of the Qing Imperial FactoryCondition report: Good condition
Lot 1272
CHINESE COPPER ALLOY SCULPTURE OF THE WISH-GIVING BUDDHA,modelled in Vitarka Mudra on lotus base, four character Qianlong mark within seal to reverse, 30cm highCondition report: Loose pieces audible to interior, firing crack/flaw to neck and further small around the head, general surface abrasions and wear overall, some further small firing cracks and flaws overall including to right knee and around lappets of base, discoloured area to reverse at base of cloak, foot and base have been dented and knocked so the piece does not sit without wobble if gently pushed on a flat surface, some concentrated abrasions and rubbing around both hands, particularly digits of right with tip of third finger seemingly lost as well as possibly tip of thumb of left hand, very top of head with apparent knocks/depressions, additional images available
Lot 1281
LARGE PAIR OF CHINESE CLOISONNE ENAMEL DRAGON & PHOENIX VASES,with twin brass archaistic handles and further detail, decorated with lotus sprays and ruyi clouds against an orange ground, the lower section with five-claw dragon and phoenix chasing the Sacred Pearl, both with four character Qianlong mark within seal to bases, 39cm high (2)
Lot 1288
CHINESE JADE SEAL,of rounded square form, relief decorated with twin chilong, bearing four characters in zhuanshu script, 4.6cm x 4.6cm, along with a cloisonne enamel seal, a turned ivory handled seal and a brass seal (4)Condition report: Ivory seal 10cm long, cloisonné seal 7.7cm long, final seal 7cm long, additional images available
Lot 152
A Chinese porcelain vase, late 19th century, the yellow ground with flowers and tendrils, height 14cm and a Chinese porcelain vase, with Qianlong red seal mark, circa 1900, the red ground with gilt tendrils and opposing famille rose decorated oval panels, height 13.2cm.From the Estates of June Barrington Ward & Maggie Cameron Fraser‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Fraser 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North East Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.Condition report: red ground vase has tiny nibbles/pitting on top rim. Yellow vase has no condition issues.
Lot 164
A quantity of Chinese carved wooden stands, one with gilded characters, the four character seal mark in the centre reads 'Imperial appreciation of the Qianlong emperor', the characters to the base reads 'for the Gu-shaped vase with thunder pattern decoration'. This wooden stand is most likely Qianlong mark and period, Qing Dynasty, 18th century, height 2cm, width 12cm, depth 11.7cm, inner diameter 8.5cm and numerous other stands dating from the 19th/20th century.Condition report: one stand has damage. The tri form stand has a crack. Extra images on the David Lay website.
Lot 184
A Chinese yellow glazed porcelain double gourd snuff bottle, Qianlong red seal mark, with pale green hardstone stopper, height 6.5cm, width 3.5, depth 2cm.From the Estates of June Barrington Ward & Maggie Cameron Fraser‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Fraser 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North East Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.
Lot 257
A Chinese celadon porcelain bowl, height 6cm, diameter 12cm and a Japanese pottery footed dish, signed, height 5cm, width 16cm, a Japanese imari vase, height 24cm and a Tang-style model of a horse. (4)Condition report: The celadon bowl has a rim chip. No seal mark to the base. The imari vase is in good condition but some wear to the gilding and painted enamel. Footed dish good. Horse figure has heavy crazing to the base.
Lot 441
A Taiwan-Cochin model of a dog of fo, signed, 20th century, height 8.5cm, width 9cm, a small Chinese bottle vase, signed, height 11cm, a Chinese porcelain tea bowl, red seal mark, a blue and white porcelain incense burner, a Chinese celadon plate, 19th century, diameter 18.5cm and a cloisonne bowl, circa 1900. (6)
Lot 53
A Chinese polished bronze ding, early 20th century, seal mark, the pierced cover above loop handles with stylised dragons, on three legs, height 29cm, width 26cm.From the Estates of June Barrington Ward & Maggie Cameron Fraser‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Fraser 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North East Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.Condition report: No condition issues.
Lot 80
A pair of Chinese blue and white vases, late 19th century, seal marks, height 21cm, two Japanese Satsuma vases, circa 1900, each with six black character marks, heights 19cm, a Japanese kutani goblet, circa 1900, character marks, height 13cm and an English blue and white cup and saucer.Condition report: Pair of blue and white vases good, the rims slightly misshapen in manufacture. Kutani cup with worn areas to the painted decoration. Both Japanese vases very damaged with rim cracks and chips.
Lot 86
A pair of Japanese blue and white porcelain chargers, early-mid 20th century, each with impressed seal mark, diameter 30.5cm and a Chinese Canton porcelain charger, 19th century, with pierced border, diameter 32.5cm.Condition report: large amount of old damage and repair on the Canton charger.
Lot 102
A pair of Chinese fan-shaped watercolours on silk, each depicting river scenes, signed, frame size 29.5 x 49.5cm, a large Chinese silk painting, mid 20th century, calligraphy and red seal mark, 84.5 x 27cm and a pair of Japanese prints, frame size 43 x 13.5cm.Condition report: The pair of fan pictures in good condition. Some light foxing. The pair of Japanese prints have foxing throughout. The painted silk picture has foxed blemishes all over and a ballpoint pen mark to the sky area.
Lot 295
A 20th century Chinese Republic style porcelain vase, of baluster shape with applied polychrome enamels, the top with floral patterns above a central scene of figures on a boat, the reverse with calligraphy, possibly a poetry passage, the underside with partially rubbed iron red seal character stamp, 44 cm high, together with a faux-ivory carved vase with elephant handles, carved intricately with landscapes, figures and foliate motifs, on a carved hardwood base, 31 cm high
Lot 522
Collection of silver and white metal consisting of: silver sauce boat, 117g approx overall, silver grape scissors, 94g approx overall, silver tea tongs, hallmarks indistinct, 32g approx overall, silver pepperette, hallmarks indistinct, 113g approx overall, silver fish slice, 68g, two pairs of silver sugar tongs, milk jug, silver plated pepper grinder, white metal model of a boat, Chinese white metal mounted and glass scent bottle, silver model of a compass, carved carnelian seal with yellow metal mounts, cased set of Guinness painted buttons and three othersCondition report: At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report.
Lot 333
Pair of 19th Century Chinese blue and white crackleware baluster form vases, incised seal marks to the base, 10.25ins high (rim chips to one), together with a similar crackleware vase decorated with warring figures in polychrome enamels, 11.75ins high (chip to rim) and Chinese blue and white prunus blossom ginger jar and cover, the base painted with dual concentric rings, 7.5ins highGinger jar - good condition The two vases have chips to rims but otherwise in ok condition (See images)
Lot 133
Chinese School, 19th Century, Man Seated Reading under a Tree; Two Men at a Table Playing a Game: and Ox and Plough, a set of three inks and watercolour on paper, each with red seal mark, and with French gallery stamp verso "Le Salon Voltaire.. Ferney-Voltaire" and inscribed with their attribution to Wang Su (Chinese 1794-1877). (3) Each 29cm by 40cm
Lot 504
A RARE AND IMPORTANT GUAN-TYPE 'ARCHAISTIC' VASE, FANG HU, YONGZHENG MARK AND PERIODChina, 1723-1735. The high-shouldered body with curved sides supported on a splayed foot, rising to a waisted neck and lipped rim, flanked by a pair of expressive chilong masks with elegantly curved horns, bulging eyes, and fangs, suspending mock rings. Covered overall in a thick pale-gray glaze suffused with a dense yet subtle crackle and attractively pooling in the recesses. The deeply countersunk base with a finely painted underglaze-blue six-character seal mark da Qing Yongzheng nianzhi and of the period.Provenance: From an English private collection.Condition: Excellent condition with only minor old wear and firing irregularities, including pitting, dark spots, and few glaze recesses. Extremely rare in this pristine state of preservation. The glaze with a subtle, unctuous feel overall.Weight: 4,655 gDimensions: Height 33.2 cmLiterature comparison: For an example of the Han-dynasty model for this vase, see Christie's Paris, 9 June 2016, lot 232.Auction result comparison: A near-identical vase, but with evident damage and repair as well as significant misfirings, was sold at Christie's Paris on 7 June 2011, lot 194, for EUR 28,600 (at the time a solid result, given the condition of this example). Compare a closely related guan-type fang hu, also with a Yongzheng mark and of the period, of near-identical form but slightly larger size (43.8 cm) and with ruyi-scepter loop handles, at Sotheby's Hong Kong in Fine Chinese Ceramics and Works Of Art on 9 April 2006, lot 1614, sold for HKD 1,440,000.雍正款及年代仿官釉螭龍啣環輔首方壺 中國，1723-1735年。侈口，短頸，碩腹。頸部螭龍啣環輔首。通體施仿官釉，開片細密。足緣施醬色護胎汁。底足內青花六字款“大清雍正年製”。 來源：英國私人收藏 品相：品相極佳，只有輕微的舊時磨損和燒製不規則現象，包括點蝕、黑點和少量釉面凹陷。 在這種原始保存狀態下極為罕見。釉面整體勻潤。 重量：4,655 克 尺寸：高 33.2 厘米 文獻比較：一件漢代方壺，見巴黎佳士得，2016年6月9 日 lot 232。 拍賣結果比較：一件幾乎一模一樣的方壺，但損壞比較嚴重並燒製瑕疵，有修補，售於巴黎佳士得2011年6月 7日 lot 194, 售價EUR 28,600 (考慮到此拍品的品相，這個價格是很正常的)；比較一件官釉方壺，雍正款及年代，尺寸稍大 (43.8 釐米)，如意雙耳，見香港蘇富比 Fine Chinese Ceramics and Works Of Art 2006年4月9日 lot 1614, 售價HKD 1,440,000；比較一件仿官釉相近獸首啣環輔首，雍正款及年代，見香港蘇富比 Monochrome II 2020年10月9日 lot 34, 售價HKD 4,032,000。
Lot 539
'CHILDREN AT PLAY', INSCRIBED DING GUANPENG (ACTIVE 1708-1771)China, Qing Dynasty, mid-18th – early 19th century. Ink and watercolors on silk. The work either from the hand of Ding Guanpeng himself, or one of his disciples at the palace painting academy, or a combination of both. Superbly painted with four children in a noble garden mimicking the Full Moon Ritual (manyue) by 'washing' a statue of the infant Buddha.Inscriptions: Lower right, 'Ding Guanpeng'. Dated to the 4th month of the 26th year of the Qianlong reign (corresponding to 1761). One seal of the artist.Provenance: UK trade, by repute acquired from a British private estate.Condition: Very good condition with minor wear, soiling, creasing, few minuscule losses. Mounted as a hanging scroll.Dimensions: Image size 115.5 x 48 cm, Size incl. mounting 213.5 x 63 cmOne child is kneeling on an oval rug with hands folded in prayer, one holds a bowl of peony blossom offerings, one is pouring water from a kundika to 'wash' a statue of the infant Buddha, supported on an elaborate lotus base, held by another child, next to a small vase with lingzhi fungi, and all below a gnarled tree, large lingbi stones, peonies, and bamboo.The scene and specifically the objects are painstakingly detailed, and upon closer inspection, one can discover such interesting things as a crackled turquoise glaze on the vase or a fine gilding on the infant Buddha statue. The fence in the background also shows numerous ornaments, and the various rocks and plants surrounding the children have meticulously executed minutia. One can understand the children's excitement, as we can all look in fascination at the intensity of the mimicked ceremony.The rich details of the playthings are matched by the carefully rendered clothing and delicately drawn faces of the children. The children's finely woven silk brocades reveal their noble, if not Imperial upbringing, and their enjoyment of the event is patent in their expressions of glee and wonderment as they play with the ceremonial objects. The elaborate rock and flowering plants indicate this is a garden setting. Likely within the walls of a family compound, the location of the painting is another indication of the wealth and prestigious status to which the children belong.Ding Guanpeng (active 1708-1771) was a Chinese painter who lived during the Qing dynasty. A native of Beijing, he was active from the later part of the Kangxi period to the mid-Qianlong period. At one point he studied oil painting under Giuseppe Castiglione. He was noted for painting people and landscapes, both in his distinct own style and by precisely copying the work of important masters such as - in the present lot - Su Hanchen. He spent about 50 years in the Palace Painting Academy and painted at least 200 major works with his own hand.Expert's note: The present lot is an exact copy after a work by the Song Dynasty artist Su Hanchen (active 1130s–1160s), which is currently in the National Palace Museum in Taipei. It is known that during the reign of Emperor Qianlong (1736-1795) masters from the Palace Painting Academy, such as Ding Guanpeng, were commissioned to copy a significant number of ancient works from the Imperial palace collection, predominantly for conservatory purposes, but also for a number of other reasons. Occasionally, some of the more prominent artists involved in this undertaking were allowed to sign these copies with their own names.Auction result comparison: Compare a related painting by Ding Guanpeng at Poly International, 3 December 2014, lot 3213, bought-in at an estimate of CNY 300,000-500,000 (approx. EUR 40,000-65,000). Compare another copy of a work by Su Hanchen at Bonhams, in Chinese Paintings and Calligraphy, 20 March 2013, New York, lot 3009, sold for USD 86,500.《童子浴佛圖》丁觀鵬（活躍於1708-1771）款中國，清代，十八世紀中葉至十九世紀。紙本設色。這幅作品可能出自丁觀鵬本人之手，也有可能出自其他宮廷畫師之手，或是兩者合作皆可能。這幅作品畫工精細，四個孩子在貴族花園裡模仿滿月儀式，以淨瓶清洗一尊嬰兒佛像。款識：乾隆二十六年四月臣丁觀鵬敬繪鈐印：觀鵬來源：英國古玩市集，據說購於英國老收藏。品相：狀況極好，輕微磨損、汙跡、皺褶，一些微小缺損。裝裱為掛軸。尺寸：畫面115.5 x 48 厘米，總213.5 x 63厘米。一個孩子跪在橢圓形的地毯上，雙手合十祈禱；一個孩子拿著一碗牡丹花供品，一個孩子正從淨瓶中倒水 "清洗 "一尊嬰兒佛像。佛像立於蓮花底座上，由另一個孩子拿著，旁邊的地上立著一個裝靈芝的小花瓶。周圍有一棵參天大樹、大靈璧石、牡丹花和竹子。此場景和周圍物件都是精心設計的，諸如花瓶上綠松石釉面開片，以及嬰兒佛像上精細的鎏金等。背景中的圍欄也有許多裝飾物，孩子們周圍的各種岩石和植物都有細緻的描繪。觀畫者可以感受孩子們的興奮，猶如身歷其境地看著這場模仿儀式。這些道具的豐富細節與孩子們精心繪製的服裝和精緻的面孔相匹配。孩子們身著的絲綢錦緞顯示了他們高貴的地位、甚至皇室的教養。由他們在玩弄儀式物品時歡快和驚奇的表情，可看出對這件事的享受。花園中精心設計的岩石和盛開的花朵，可知這花園可能是在一個大宅邸的牆內，它的位置也表明了孩子們的出身。丁觀鵬（活躍於1708-1771年）為清朝畫家，北京人，活躍於康熙後期至乾隆中期，他曾向郎世寧學習油畫。他以人物和風景畫聞名，既有自己獨特的風格，也能精確地模仿大師的作品，如本拍品即為仿蘇漢臣的畫作。他任職於宮廷畫院約50年，至少親手畫了200幅作品。專家註釋：本拍品是根據宋代藝術家蘇漢臣（活躍於1130-1160年）的作品精確複製的，該作品現藏於臺北故宮博物院。乾隆時期（1736-1795）為了保存的目的和其他原因，宮廷畫院的大師們，如丁觀鵬，被委託臨摹大量皇宮收藏的古代作品。一些參與這項工作的著名藝術家，偶爾被允許在這些副本上題上自己的名字。拍賣結果比較：比較一幅相關的丁觀鵬的畫作，見北京保利2014年12月3日「藝林藻鑒—中國古代書畫」，拍品編號3213，估價CNY 300,000-500,000 (大約為EUR 40,000-65,000)。比較一件蘇漢臣的作品，見紐約邦翰斯2013年3月20日lot 3009，售價 USD 86,500。
Lot 493
A PAIR OF CAFE-AU-LAIT-GROUND FAMILLE VERTE 'ANTIQUE TREASURES' BOWLS, KANGXI PERIODChina, 1662-1722. Each bowl is well potted with deep rounded sides rising from a slightly tapered foot to a gently everted rim, the exterior neatly painted in bright enamels with antique treasures, scholar's objects, and auspicious symbols against an evenly toned cafe-au-lait ground, the white-glazed interior with a floral spray.Provenance: Woolley & Wallis, 14 November 2012, lot 305. A private collector, acquired from the above.Condition: Good condition. One bowl with a smoothened chip to the foot, associated minuscule loss and semicircular hairline. The second bowl with a shallow chip to the rim and minuscule old fill. Both with minor wear, little rubbing to enamels, manufacturing irregularities, minimal fritting to foot rims.Weight: 237.9 g and 225.4 gDimensions: Diameter 15.2 cm and 15.1 cmThe white-glazed recessed bases each with an underglaze-blue stylized seal mark within a double circle. (2)Auction result comparison: Compare a related cafe-au-lait ground famille verte bowl, with a Xuande mark and also dated to the Kangxi period, at Sotheby's New York in Fine Chinese Ceramics & Works of Art on 17 September 2013, lot 319, sold for USD 13,750. 康熙時期一對淡黃醬色釉地博古紋碗 中國，1662-1722年。口微外撇，圓腹，圈足；表面淡黃醬色釉地，精美琺琅博古紋。碗內施白釉，繪製紅蓮一朵。來源：2012年Woolley & Wallis 2012年11月14日 lot 305；私人藏家購於上述藝廊。 品相：狀況良好。 一個碗足部有光滑的切痕，微小的缺損和半圓形的細裂紋；第二個碗邊緣有淺磕損和微小的舊時填補。兩者都有輕微磨損，釉面些微摩擦，製造瑕疵，足部邊緣小熔結。 重量：分別為237.9 克與225.4 克 尺寸：直徑15.2 釐米與 15.1 釐米 圈足內青花雙圈款。(2) 拍賣結果比較：比較一件宣德款康熙時期的醬色釉硬彩碗，見紐約蘇富比Fine Chinese Ceramics & Works of Art 2013年9月17日 lot 319, 售價USD 13,750。
Lot 548
'PLUM BLOSSOMS AND BAMBOO LEAVES', BY WANG YAOQING (1881-1954)China, first half of the 20th century. Ink and watercolor on segmented paper. The upper fan-shaped painting shows calligraphy. The lower painting depicts branches of a plum tree covered in red blossoms, bamboo leaves on the left. Calligraphy and seal mark on the left side. Laid down on paper with protective cover.Inscriptions: Upper image: The text describes a scene in autumn, gifted to Mr. Youting. Lower image (translated): 'To Mr. Youting'. Signed 'Wang Yaoqing'. One seal: 'Yaoqing'.Provenance: From the collection of Professor Jan Wirgin (1932-2020). Jan Wirgin studied Classic Chinese and History of Art at Stockholm University. Later, he joined the Museum of Far Eastern Antiquities in Stockholm, first as a curator and then between 1981-1998 as the director of the museum. Further, he published numerous articles during his work as the editor of the Bulletin of the Museum of Far Eastern Antiquities. One of his most famous works is the book "Chinese Art history" (1972), which is still one of the most read books for students of Chinese art history in Sweden. Condition: Good condition. The upper painting with some minor material loss at the margin, a few tears, and abrasions, especially along the folds, touch-ups. The lower painting with some abrasions along the folds, minor material loss, and a tear on the right side.Dimensions: Upper image size 46 x 20, lower image size 46 x 20.3 cm, paper cover 63.5 x 65 cmWang Yaoqing (1881-1954) was one of the most famous actors of the Peking Opera in the early 20th century. He was known for playing various female roles in the Peking Opera. In the early 1930s, Wang Yaoqing taught at the Chinese Opera Specialized School. Later, he became the principal of the Chinese Opera School and trained many talented actors, for example, Mei Lanfang, Cheng Yanqiu, Xun Huisheng, and Shang Xiaoyun. He is also a renowned Chinese painter, known for his paintings of plums, chrysanthemums, lotus flowers, turtles, and shrimps.Auction result comparison: Compare a similar painting, depicting a tree branch with blossoms, also from Wang Yaoqing, with the title 'Ink Prunus (墨梅),' at Xiling Yinshe Auction in Chinese Painting and Calligraphy on 25 June 2016, lot 992, sold for RMB 140,000 (ca. EUR 19,400). 王瑤卿 (1881-1954) 《秋山色》與《梅竹圖》 中國，二十世紀上半葉。紙本設色。分別爲《秋山色》七言小律與《梅竹圖》。 款識: 七言小律一面為“佑廷先生正”；《梅竹圖》一面為“佑廷先生正之”及“王瑤卿”；朱印“瑤卿”。 王瑤卿，清末民國京劇旦角演員、戲曲教育家。 來源：Jan Wirgin (1932-2020) 教授收藏。Jan Wirgin先生曾在斯德哥爾摩大學學習古典漢語和藝術史。之後，他進入斯德哥爾摩東方博物館，先是擔任策展人，然後在 1981 年至 1998 年間擔任博物館館長。此外，他在擔任東方博物館公報的編輯期間，發表了大量文章。其中，最著名的是《中國藝術史》（1972）一書，至今仍是瑞典中國藝術史學生最重要的書籍之一。 品相：書法面邊緣處有一些輕微缺損和撕裂，有水跡和修補。繪畫面有些磨損，材料輕微缺損，右側有撕裂。 尺寸：分別爲46 x 20 厘米 與 46 x 20.3 厘米，總 63.5 x 65 厘米 紙本裝裱，有保護層。 拍賣結果：比較一張王瑤卿的《墨梅》，見西泠印社 Chinese Painting and Calligraphy 2016年6月25日 lot 992, 售價RMB 140,000。
Lot 546
'LADY AND PARROT', BY XU CAO (1899-1961)China. Ink, gilt, and watercolors on paper. Finely painted with a noble lady seated in an elaborately crafted wooden chair with gilt fittings and silk brocade back, a table holding a wine cup and an ancient bronze vessel as well as a large vase held by a stand beside her. The lady is looking toward her parrot perched on a gilt swing suspended from a dragon fitting mounted to a wooden pole.Inscriptions: Upper left, signed 'Yansun Xu Cao', and with a lengthy inscription. One seal of the artist.Provenance: UK trade, by repute acquired from a British private collection.Condition: Excellent condition with minor old wear. Soiling, browning, and foxing, all found exclusively outside the depiction, therefore probably added by the artist on purpose. Mounted as a hanging scroll.Dimensions: Image size 81 x 35.5 cm, Size incl. mounting 215 x 51 cmExpert's note: Xu Cao was a leading conservative artist in Beijing during the 1930s and 1940s. Some scholars have later described him as possibly the last living proponent of the Imperial School. Xu Cao's zestful brushwork and taste for theatrics were conservative in their references to the past, but wholly modern in the spirit of defiance and abandon they celebrated. This is clearly seen in the present work, with the paper being deliberately 'aged' with simulated wear, a dramatic effect that - like in theater- creates a stark contrast between the actual depiction and the background.Auction result comparison: Compare a closely related painting by Xu Cao, also depicting a lady and parrot, dated 1939 by inscription, at Christie's Hong Kong in Fine Chinese Modern Paintings on 30 May 2017, lot 1297, sold for HKD 150,000. 徐操(1899-1961)《美人鸚鵡》中國。立軸，紙本水墨設色描金。畫中一位仕女坐在絲錦椅背上，身畔桌子上放著酒杯和銅瓶，旁邊的三足架上放著一隻大花瓶。仕女正逗玩著棲息在一個鎏金鞦韆上的鸚鵡。設色精美，人物造型準確，形態逼真，陳設傢俱細節刻畫細緻。款識：新將金巢籠鸚鵡，朝餐多與教來香閣幾行詩，贏得頻開齲齒，小鳥聰明如許，誦來楚之，休將呢語令他知，恐怕人前亂語。霜紅主人燕孫徐操。鈴印：燕孫徐操來源：英國古玩市場，據説來自英國私人收藏。品相：狀況極佳，有輕微舊磨損。 汙漬、褐變和起皮。裝裱立軸。尺寸：畫面81 x 35.5厘米，總215 x 51 厘米拍賣結果比較：比較一件徐操1939年的《美人鸚鵡》，見香港佳士得Fine Chinese Modern Paintings 2017年5月30日 lot 1297, 售價HKD 150,000。
Lot 507
A PAIR OF REVERSE-DECORATED CORAL-GROUND 'PEONY AND LOTUS' BOWLS, QIANLONG SEAL MARKS AND OF THE PERIODChina, 1736-1795. Each delicately and thinly potted, with deep rounded and translucent sides rising from a short, slightly spreading foot to an everted rim. Delicately reverse-decorated in a rich iron-red enamel with a row of peony heads, alternating with smaller lotus above a row of lotus blossoms, all borne on interlocked foliate scrolls reserved in white against the opaque coral ground, the interior left undecorated. The recessed white bases with underglaze-blue six-character seal marks da Qing Qianlong nianzhi and of the period.Provenance: From a private collection in New York, USA.Condition: Superb condition with only minor old wear and minimal firing flaws, such as dark spots and minuscule irregularities in the red enamel along the foot. The glaze with a magnificent, unctuous feel overall. In such pristine condition, the present bowls must be considered exceedingly rare.Weight: 139.2 g and 139.5 gDimensions: Diameter 12.9 cm and 13 cmThis exquisite pair of bowls is notable for the meticulously executed floral scroll, which creates a sharp and pleasing contrast against the iron-red ground. While iron red was already used to decorate Cizhou wares in the Jin dynasty (1115-1234), and was adopted at Jingdezhen during the Yuan dynasty, it was only in the 18th century, when all enamels were scrutinized as to their unique properties, that its decorative potential was fully realized. Iron red, which adheres in a thin, opaque layer, allows for razor-sharp lines, which could not be achieved with other enamels that are thicker and glassier. This property makes 'negative' reverse designs most successful, giving them a delicacy which can only rarely be seen on 'positive' paintings above a white ground. The reverse effect, combined with the unique translucency of the pottery, creates a stunning appearance once sunbeams shine through the bowls.Porcelain wares decorated with 'negative' reverse designs on an iron-red ground are the product of the creative genius of Tang Ying (1682-1756), Superintendent of the Imperial kilns during the Yongzheng and early Qianlong periods. A bondservant of the Plain White Banner, who had served at the court from the age of 16, Tang is credited with the introduction of novel techniques and designs at the kilns. Luxuriant floral scrolls against an iron-red ground first appeared on Yongzheng mark and period boxes, but with additional butterflies, such as one in the Palace Museum, Beijing, illustrated in Kangxi, Yongzheng, Qianlong: Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, plate 70, and another from the Sir Percival David collection and now in the British Museum, London, published in Margaret Medley, Illustrated Catalogue of Ming Polychrome Wares, London, 1978, plate 163. During the Qianlong period, this reverse-decorated floral design was modified to be used on the outside of bowls, yet without butterflies.Fitted box. (2)Literature comparison: A related bowl with Qianlong mark, in the Percival David Foundation, is illustrated in Oriental Ceramics, The World's Great Collections, vol. 6, Tokyo, 1982, pl. 94. Three related bowls, also with Qianlong marks, in the Ohlmer Collection, Roemer Museum, Hildesheim, are illustrated by U. Wiesner, Chinesisches Porzellan, Mainz am Rhein, 1981, no. 130-2. See S. Marchant and Son, Nineteenth Century Mark and Period Porcelain, London, 7-28 June, 1992, no. 28, for a pair of Qianlong mark and period bowls of identical decoration and size.Auction result comparison: Compare a pair of near-identical bowls (12.8 cm diameter), also with Qianlong seal marks and of the period, of identical form and decoration, at Sotheby's Hong Kong in Marchant – Fifty Qing Imperial Porcelains on 10 July 2020, lot 3131, sold for HKD 1,750,000 (for a pair). Compare a near-identical bowl (12.7 cm diameter), also with Qianlong seal mark and of the period, of identical form and decoration, at Christie's New York in Marchant: Nine Decades in Chinese Art on 14 September 2017, lot 747, sold for USD 93,750. Compare a near-identical bowl (12.7 cm diameter), also with Qianlong seal mark and of the period, of identical form and decoration, at Christie's New York in Fine Chinese Ceramics & Works of Art Part I on 18 March 2016, lot 1625, sold for USD 81,250.乾隆款及年代一對珊瑚紅彩留白纏枝花卉圖碗中國，1736-1795年。撇口、深腹、圈足。內壁光素施白釉，外壁珊瑚紅地留白裝飾，纏枝花卉佈局繁密，花紋留白處以珊瑚紅線條勾勒花莖，描繪細緻，格調秀雅。圈足内青花六字款“大清乾隆年製”。 來源：美國紐約私人收藏。 品相：狀況極佳，只有輕微的磨損和燒製瑕疵，例如黑斑和足部紅色琺瑯中的微小不規則性。釉面整體具有華麗晶瑩。如此品相，極爲珍貴。 重量：分別為139.2 克與139.5 克 尺寸：直徑分別爲 12.9 厘米 與13 厘米這對碗釉色精美，珊瑚紅在金代（1115-1234）已被用於磁州窯器，元代景德鎮也採用了珊瑚紅紅，但直到十八世紀，單色釉的獨特性才被重視並得到充分發展。珊瑚紅在釉上可以產生獨特的效果，在陽光的照耀下，會產生令人驚嘆的效果。 此種珊瑚紅地留白技法始創於清雍正時期，是督陶官唐英（1682-1756）為皇室燒製的專用器。先在白釉上以紅彩勾繪紋飾輪廓，在輪廓外滿填紅彩，形成紅白相應的色彩構圖，是清代獨特的瓷藝品種。此種紋樣創燒自雍正御窯，較之常見的官窯品種更為稀少，彌足珍貴。相應館藏作品請參考北京故宮博物院藏清雍正紅彩地白花蝶蓋盒（參見《故宮珍藏康雍幹瓷器圖錄》，紫禁城出版社、兩木出版社，1989年，頁241，圖70）。另可見倫敦大英博物館Sir Percival David 收藏，見 Margaret Medley, Ming Polychrome Wares, 倫敦1978年，圖163。到了乾隆年代，此紋飾用於碗外壁，並且沒有了蝴蝶。 配套的盒子。(2) 文獻比較：一件相近的同樣有乾隆款的碗，收藏於Percival David Foundation基金會，見Oriental Ceramics, The World's Great Collections, 第6冊，東京 1982年，圖 94。另外三件有乾隆款的碗，收藏於德國 Hildesheim Roemer Museum美術館Ohlmer Collection收藏，見U. Wiesner, Chinesisches Porzellan, Mainz am Rhein, 1981年，圖130-2。見S. Marchant and Son, Nineteenth Century Mark and Period Porcelain, 倫敦，1992年6月7-28日，圖 28, 一對乾隆款及年代的碗，相同紋飾與尺寸。 拍賣結果比較：比較一對幾乎一模一樣的碗 (直徑12.8 厘米)，乾隆款及年代，相同形狀與紋飾，見香港蘇富比Marchant – Fifty Qing Imperial Porcelains 2020年7月10日 lot 3131, 售價HKD 1,750,000 (一對)；比較一件幾乎一模一樣的碗(直徑12.7 厘米)，乾隆款及年代，相同形狀與紋飾，見紐約佳士得Marchant: Nine Decades in Chinese Art 2017年9月14日 lot 747, 售價USD 93,750；比較一件幾乎一樣的碗 (直徑12.7 厘米)，乾隆款及年代，相同形狀與紋飾，見紐約佳士得Fine Chinese Ceramics & Works of Art Part I 2016年3月18日 lot 1625, 售價USD 81,250。
Lot 519
A FAMILLE ROSE 'SHOULAO' VASE, JUREN TANG MARK, REPUBLICChina, 1912-1949. The ovoid body rising from a spreading foot to a waisted neck with a galleried rim. Painted in bright enamels with gilt highlights to depict Shoulao, wearing voluminous robes, offering a peach to Lan Caihe, holding a long staff with a flower basket and a sack filled with flowers at her sides, a young attendant standing beside Shoulao and carrying his basket, all below two iron-red bats painted to the neck. The base with an iron-red four-character seal mark Juren Tang zhi.Provenance: From an English private collection.Condition: Very good condition with minor wear and firing flaws. Drilled to base.Weight: 984.7 gDimensions: Height 28 cmThe Juren Tang ('Hall where Benevolence Resides') in Zhongnanhai was the building in which Yuan Shikai (1859-1916) lived and also where he had his office around 1915. Yuan Shikai was the first President of the Republic of China and Emperor of the short-lived Empire of China (1915-1916), taking the era name Hongxian. In 1916, Guo Baochang, an antique dealer with a good relation to the court, was appointed to oversee Hongxian's new Imperial porcelain production. The intent from the outset was that the items produced were to be of excellent quality. The biscuit used was very thin, the enamels were sent from the Imperial Workshops and the mark used was a red seal reading Juren Tang zhi. The quality of items produced was reputed to be excellent. Unfortunately during production, because of the very thin biscuit, many objects were damaged. The remaining few perfect pieces were given to the most favored officials and are exceedingly rare today.Yuan Shikai stood down as Emperor on 22 March 1916 and resumed his presidency, dying shortly afterward in June 1916. After his death, production was halted and the kilns were destroyed, but the enamels were stolen by workers who then proceeded to copy the Juren Tang production, marking their pieces Hongxian nianzhi (also Hongxian Yu Chih or Hongxian Yuan Nian), mostly with Kaishu script. The first copies produced were apparently of extremely high quality, as they were still using the imperial biscuit and enamels, but quality fell as the quantity increased and, presumably, the imperial resources were depleted. One opinion has it that all Hongxian marked pieces are made after the actual period, and that the only possibly genuine mark of the Hongxian period are the Juren Tang, if any. Still, from extant pieces it is clear that the porcelain industry was much stimulated at this time and for decades to come, and that pieces of very high quality were made, some of which bear the Hongxian mark while others are marked Juren Tang.Auction result comparison: Compare a related famille rose vase, also depicting Shoulao and with a Juren Tang zhi mark, dated to the Republic period, at Christie's London in Fine Chinese Ceramics and Works of Art on 13 May 2014, lot 402, sold for GBP 37,500. 民國居仁堂款粉彩《壽老》賞瓶 中國，1912-1949年。唇沿，削肩，縮腹，圈足外撇。粉彩描金繪壽老，身穿長袍，手執長杖，高舉仙桃，身側站著侍者。頸部兩隻鐵紅釉蝙蝠。鐵紅釉四字款“居仁堂製”。來源：英國私人收藏。 品相：狀況極好，有輕微磨損和燒製瑕疵。底部鑽孔。 重量：984.7 克 尺寸：高 28 釐米 拍賣結果比較：比較一件民國居仁堂款粉彩壽老紋賞瓶，見倫敦佳士得 Fine Chinese Ceramics and Works of Art 2014年5月13日 lot 402, 售價GBP 37,500。
Lot 538
'MAGNOLIA, PEONY AND PRUNUS', BY ZOU YIGUI (1686-1722)China. Ink and watercolors on paper. Finely painted with leafy and flowering branches of magnolia, peony, and prunus, with some buds still closed. Note the appealing contrast of colors between the white magnolias, pale pink cherry blossoms, and almost lavender peony.Inscriptions: Center left, signed 'Zou Yigui'. One seal of the artist.Provenance: British market, by repute from an old English private collection. Inscribed in pencil, '30 Tsou I Kuei', and with an old paper label inscribed with an inventory number, '30'.Condition: Fair condition with wear, soiling, creasing, some losses with associated old repairs and touchups. Mounted on paper.Dimensions: Image size 83 x 40.5 cm, Size incl. mounting 111.5 x 56 cmZou Yigui (1686-1722) was a famed Chinese painter who lived during the earlier Qing Dynasty. He was born in Wuxi, Jiangsu Province. He painted for the Imperial family and was highly skilled in painting flowers, with meticulous attention to detail. He was also talented in painting landscapes and once wrote a book named 'Art of Painting of Xiaoshan', discussing the experience of painting.Auction result comparison: Compare a closely related painting by Zou Yigui, 175 x 97 cm, also depicting magnolia, peony, and prunus, at Lempertz Brussels, 18 June 2017, lot 1094, bought-in at an estimate of EUR 21,000-22,000. Compare a related painting by Zou Yigui of a white peony, 58 x 40 cm, at Christie's Hong Kong in Fine Chinese Classical Paintings and Calligraphy on 26 November 2012, lot 938, sold for HKD 225,000. 鄒一桂款《玉出牡丹》中國。立軸，紙本設色。繪有枝葉繁茂的玉蘭、牡丹和桃花，花蕾含苞欲放。請注意白色玉蘭、淡粉色桃花和近乎薰衣草色的牡丹之間迷人的色彩對比。款識：辛未仲冬，小山鄒一桂鈴印：一桂來源：英國古玩市場，據説來自英國私人收藏 。有鉛筆手寫的 “30 Tsou I Kuei” 字樣，紙標籤有收藏編號 “30”。品相：狀況良好，有磨損、汙漬、摺痕，以及相關的舊維修和修補造成的一些損失。 紙本裝裱。尺寸：畫面83 x 40.5厘米，總111.5 x 56厘米拍賣結果比較：比較一件鄒一桂的《玉出牡丹》，175 x 97 釐米，見布魯塞爾Lempertz 藝廊2017年6月18日 lot 1094, 估價EUR 21,000-22,000。比較一幅鄒一桂《白牡丹》，58 x 40 釐米，見香港佳士得Fine Chinese Classical Paintings and Calligraphy 2012年11月26日 lot 938, 售價HKD 225,000。
Lot 547
'LADY', IMPERIAL SCHOOL, QING DYNASTYChina, 1644-1912. Ink and watercolors on fine silk. Masterfully painted with a young lady opening a window, wearing a loose-fitting robe with hems and collar decorated with lotus scroll, jewelry, and flowers in her hair, looking straight ahead with a subtle smile, a gnarled blossoming tree above her and craggy rockwork below.Inscriptions: Center left, 'Wuzhong Yanshan Qiaoke Yuan Chao'. One seal, 'Zixin'.Provenance: Collection of John and May Waldroup, assembled while living in Japan during the 1960s. John D. Waldroup (1926-2006) was an American accountant for Price Waterhouse in Manila, Philippines, where he met and married his wife May (b. 1930). In 1962, they moved to Japan, opening an office for Arthur Young and Co., as a partner of the firm.Condition: Good condition with minor wear and soiling, creasing, minor losses and associated old repairs. Mounted.Dimensions: Diameter 26 cm, Size incl. mounting 32.7 x 39.5 cmAuction result comparison: Compare a related Imperial School painting of a court lady and boy, 98 x 60 cm, dated early 18th century, at Sotheby's Hong Kong in Fine Chinese Ceramics & Works of Art on 7 April 2010, lot 1826, sold for HKD 1,340,000. 清代御製《仕女臨窗圖》鏡心 中國，1644-1912年。絹本水墨設色。描繪了一位年輕的仕女正打開窗戶，她穿著寬鬆的常服，髮飾芙蓉珠寶發簪精美。她帶著似乎異常欣喜的微笑直視前方，身旁櫻花盛開。 款識：吳中研山樵客，袁潮鈴印：子辛 來源：John 與 May Waldroup收藏，創建於上世紀六十年代他們生活在日本時期。John D. Waldroup (1926-2006) 是菲律賓馬尼拉普華永道的美國會計師，在那裡他結識並娶了他的妻子May（生於 1930 年）。 1962 年，他們移居日本，為 Arthur Young 公司開設了辦事處，作為公司的合夥人。 品相：狀況良好，有輕微磨損和汙漬、起皺、輕微缺損和相關的修補。 尺寸：畫面直徑26厘米，總32.7 x 39.5厘米 拍賣結果比較：比較一件相近的十八世紀初宮廷畫師的《嬰戲圖》，見香港蘇富比Fine Chinese Ceramics & Works of Art 2010年4月7日 lot 1826, 售價HKD 1,340,000。
Lot 364
A GILT-SPLASHED 'ETERNAL TREASURES' BRONZE CENSER, 17TH CENTURYChina. The heavily-cast censer, Yajinglu, is raised on three tapering feet and has two loop handles on the sides, and the exterior is splashed with numerous small gold-foil flakes. The base is with a recessed cartouche enclosing a four-character seal mark.Inscriptions: Seal mark to base, 'zhenshe yongbao' (eternal treasures).Provenance: Clyde Kwok, Montreal, Canada. Karl Alexander Plath (1939-2020), Montreal, acquired from the above and thence by descent in the same family. Plath was born in Germany and moved to Canada at the age of 21, where he established two businesses producing parts for telecommunications and aircraft engines. In 1964, Plath became friends with Clyde Kwok, a professor at Concordia University who later founded Wingho Auto, which designs sports cars to this day. In 2005, Plath acquired Kwok's collection of Chinese bronzes. According to the Plath family, the present lot was previously part of an old Shanghai family collection. Condition: Good condition with old wear, some casting irregularities, minor nicks, occasional light scratches, the interior with extensive traces of use. Fine, naturally grown patina.Weight: 2,190 gDimensions: Width 21 cmLiterature comparison: For another gilt-splashed censer with a zhenshe yongbao mark, see Sotheby's London, 3 November 2021, lot 165.Auction result comparison: Compare a closely related gilt-splashed bronze tripod censer, 23.4 cm wide, also dated to the 17th century, at Christie's New York in Fine Chinese Ceramics and Works of Art on 17 March 2017, lot 1046, sold for USD 112,500. 十七世紀灑金壓經爐中國。平口，短頸，腹圓潤，腹上飾板耳，底承三乳丁足。全器造型規整，銅質精純，通體以灑金為飾，疏密分佈，錯落有致，盡顯內斂沉靜之韻。款識: 珍舍永寳 來源：加拿大蒙特利爾Clyde Kwok收藏；蒙特利爾Karl Alexander Plath (1939-2020) ，購於上述收藏，保存在同一家族至今。Plath出生於德國，21 歲時移居加拿大，在那裡建立了兩家生產電信和飛機發動機零件的公司。1964 年，Plath與Concordia大學Clyde Kwok教授成為朋友，Clyde Kwok後來創立了永和汽車，至今仍設計跑車。 2005 年，Plath收購了Clyde Kwok的中國青銅器收藏。 根據Plath家族的說法，這件拍品以前是來自舊上海一個家族收藏。品相：狀況良好，舊時磨損，鑄件瑕疵，輕微刻痕和劃痕，內部有大量使用痕跡。自然生長的細膩包漿。重量：2,190 克 尺寸：寬 21 厘米 文獻比較: 另一件“珍舍永寳“款灑金爐，見倫敦蘇富比2021年11月3日 lot 165。拍賣結果比較: 比較一件相近的灑金三足爐，款23.4厘米，十七世紀，見紐約佳士得Fine Chinese Ceramics and Works of Art 2017年3月17日 lot 1046, 售價USD 112,500。
Lot 550
'CIRCUS SCENES', AN ALBUM BY PU RU (1896-1963), WITH A TOTAL OF 16 LEAVESChina. Ink on paper. The present album consists of eight leaves by the artist, each with a depiction of a different circus act, including acrobats, feats of strength, balancing acts, a tightrope walker, and a trapeze artist, with annotations to each opposite leaf. With silk brocade front and back covers.Inscriptions: The cover titled 'Album with Circus Scenes by Pu Xinshe [Pu Ru]', signed 'Kanbai Wu Ping', with two seals, 'Wu Ping' and 'Kanbai'. Each painted leaf with a title. The last leaf signed 'Xinshe', dated Yiwei year (corresponding to 1955), dedicated to Wang Aiyun (1906-2004), and with a total of ten seals of the artist. Each opposite leaf with an annotation, praising Pu Ru and describing his life and art, inscribed and signed by Jiang Zhaoshen, Zeng Shaojie, Wang Zhuangwei, Chen Hanguang, dated Bingshen year (corresponding to 1956), with another dedication to Wang Aiyun, and a total of nine seals.Provenance: Wu Ping (1920-2019) and thence by descent. Wu, whose style name was Kanbai, was a native of Yuyao in Zhejiang province. He possessed notable talent in the arts of calligraphy, painting, and seal carving, and formerly served as a director of the Department of Painting and Calligraphy at the National Palace Museum, Taipei.Condition: Very good condition with minor wear, soiling, and foxing. Some old wear and traces of use to album cover.Dimensions: Image size ca. 11 x 8 cm (each), Leaf size 15.2 x 11.2 cm (each)Chinese circus acts include a wide range of acrobatic acts, balancing acts and other demonstrations of physical skill traditionally performed by a troupe in China. Many of these acts have a long history in China and are still performed today. While the English term "Chinese circus" has been used to describe Chinese variety arts even in the earliest Western historical texts, the East views the Chinese term 'circus' as an altogether separate, Western style of show. Clowns, for example, belong exclusively to the Western circus. Eastern elements include Shaolin monks, Peking opera characters, and the Monkey King.During the Qin and Han periods, Juedi or Baixi variety shows were popular with the common people. Juedi was originally an entertainment where men wearing horns charged at one another like bulls, but became a general term used interchangeably with Baixi to describe popular entertainment during the Han Dynasty. It consisted of a variety of acts such as conjuring, acrobatics, wrestling, musical performances, dance, martial arts, horsemanship, and juggling. Over the centuries, performances became more elaborate and during the Tang Dynasty, the performing arts were highly popular in the Emperor's court and the acts became even more refined. Eventually, the performing arts lost favor in the Imperial Court and moved back to the common people and most performers performed in the street. Towards the end of the Ming Dynasty (1368-1644), the performers again came off the street and started performing on stage. During the end of the Qing Dynasty (1644-1911), it regained popularity with the Imperial Court and has remained a popular art form to this day.Pu Ru (1896-1963), also known as Pu Xinshe, was a traditional Chinese painter, calligrapher, and nobleman. A member of the Manchu Aisin Gioro clan, the ruling house of the Qing dynasty, he was a cousin to Puyi, the last Emperor of China. It was speculated that Pu Ru would have succeeded to the Chinese throne if Puyi and the Qing government were not overthrown after the 1911 Xinhai Revolution. Pu Ru was reputed to be as talented as the famous southern artist Zhang Daqian. Together, they became known as 'Pu of the North and Zhang of the South'. Pu Ru fled to Taiwan after the Communist Party of China came to power, and was appointed by Chiang Kai-shek as a Manchu representative at the Constitutional National Assembly. In Taiwan, he made a living selling paintings and calligraphy, and taught as a professor of fine arts at the National Taiwan Normal University.Auction result comparison: Compare a closely related handscroll (14 x 119 cm) by Pu Ru with similar depictions at Poly International, 1 December 2019, lot 2113, sold for CNY 1,265,000 (approx. EUR 163,222). 《溥心畲寫馬戲冊》，冊頁八開中國。紙本水墨。冊頁中溥心畲繪製了八頁，分別描繪了八個不同的馬戲場景，包括項象、人獸鬪、走索、戲馬、曡羅漢、蹬椅人、飛人、牛拉車。另外八頁則由一些鑒賞家與藏家的相關詩文。綾綿裱褙。 款識：封面：《溥心畲寫馬戲冊》，堪白吳平；鈴印“吳平”“堪白”最後一頁上書“藹雲先生屬，乙未（1955）五月，心畬。”“藹雲”即為台灣著名收藏家王藹雲（1906-2004）。為冊頁題詞的有江兆申、曾紹傑、陳含光、王壯為，分別落款及鈴印。 來源：吳平 (1920-2019)，保存至今。吳平字堪白，生於浙江餘姚，幼承家學，隨父親習字作畫，筆勢結構成自家風格，後來成爲臺北故宮博物院書畫部主任。 品相：狀況極好，有輕微磨損、污漬和起毛。冊頁封面可見使用痕跡。 尺寸：畫面約 11 x 8 厘米，冊頁 15.2 x 11.2 厘米 拍賣結果比較：比較一件溥心畲的卷軸 (14 x 119 厘米)，見保利2019年12月1日 lot 2113, 售價CNY 1,265,000 (approx. EUR 163,222)。
Lot 451
A WHITE JADE 'CRAB' SEAL PASTE BOX AND COVER, 18TH CENTURYChina. The box finely carved as a lotus leaf with neatly incised veins, surmounted by an intricately carved and open worked cover in the form of a crab, the interior of which is also incised with veins of a lotus leaf. The superbly polished and highly translucent stone is of an even white tone.Provenance: Charlotte Horstmann, Hong Kong, 18 November 1959. Swiss private collection, acquired from the above. Ben Janssens Oriental Art, London, 2011, offered for GBP 12,000 (according to price list). British private collection, acquired from the above. A copy of the original invoice from Charlotte Horstmann, dated 18 November 1959, accompanies this lot. Charlotte Horstmann was a legendary art dealer in Hong Kong, widely recognized as one of the three doyennes of the Asian art world, together with Helen Ling in Singapore and Connie Mangskau in Bangkok. She was born in Berlin to missionaries who moved with their daughter to Beijing shortly after her birth. In the 1920s and 1930s, she worked as an interpreter, meeting important art collectors and academics such as John D. Rockefeller Jr. and Lawrence Sickman. She became an antiques dealer in Beijing and in 1950 moved to Bangkok, taking her now-famous collection of Ming furniture with her. In 1955, she moved to Hong Kong and opened a small shop on Ice House Road. Over time, this shop became a destination for stars, politicians, business magnates, and high-ranking government officials from around the world.Published: The Scholar's Desk, Ben Janssens Oriental Art, London, 2011, no. 46, pl. 96.Condition: Good condition with old wear, tiny nicks to edges, minuscule cracks and losses.Weight: 44 g Dimensions: Length 6.5 cm, Height 5.5 cmAn old name in Chinese for crab was jia, a reference to the creature's shell, and the word for lotus is lian. Together, the crab and lotus formed the rebus lian ke jia di, meaning 'first place in consecutive examinations'. The lotus is also called hehua, and the common name for crab, xie, also combines to form the phrase hexia which means 'harmony'.Auction result comparison: Compare a related white and russet jade figure of a crab, 7.7 cm long, dated to the 19th century, at Christie's Hong Kong in Chinese Art on 30 November 2017, lot 384, sold for HKD 106,250.十八世紀白玉雕刻蟹形印泥蓋盒中國。盒子上雕刻精美的荷葉紋，紋路清晰，蓋上鏤雕螃蟹，盒內亦刻荷葉紋。白玉表面光滑，半透明，色澤均勻潤澤。 來源：香港Charlotte Horstmann藝廊，1959年11月18日；瑞士私人收藏，購於上述收藏； 倫敦Ben Janssens Oriental Art藝廊，2011年，開價 GBP 12,000 (根據價格表)；英國私人收藏，購於上述藝廊。隨附一份Charlotte Horstmann的原始發票複印件，注明為1959年11月18日。Charlotte Horstmann 是香港傳奇的藝術品經銷商，與新加坡的 Helen Ling 和曼谷的 Connie Mangskau 一起被公認為亞洲藝術界的三大元老之一。 她出生於柏林，她的父親是傳教士，在她出生後不久就帶著女兒搬到了北京。在 1920 年代和 1930 年代，她擔任口譯員，曾見過重要的藝術收藏家和學者，如小John D. Rockefeller和Lawrence Sickman。她在北京成為一名古董商，並於 1950 年搬到曼谷，帶著她著名的明代傢俱收藏。 1955年移居香港，在雪厰街開了一家小店，慢慢成爲來自世界各地的明星、政治家、商業巨頭和高級政府官員的必去之地。 出版：The Scholar's Desk, Ben Janssens Oriental Art, London, 2011, no. 46, pl. 96。 品相：狀況良好，有舊磨損，邊緣有微小的刻痕，有微小的裂縫和缺損。 重量：44 克 尺寸：長6.5厘米，寬5.5厘米 拍賣結果比較：比較一件十九世紀白玉留皮雕蟹，長7.7 厘米，見香港佳士得Chinese Art 2017年11月30日 lot 384, 售價HKD 106,250。
Lot 534
'MOUNTAIN LANDSCAPE', STYLE OF NI ZAN (1301-1374), ATTRIBUTED TO JIAO BINGZHEN (ACT. 1689-1726)China. Ink and watercolors on paper. Painted with a monumental mountain landscape with numerous different trees and groups of houses delicately nestled in between. A distinct single pavilion stands atop a mountain in the upper area of the painting.Inscriptions: Upper left, inscribed 'Pavilion in the mountains. In the Autumn of the Year of Renwu, two days after the Double Ninth Festival (Chongyang jie), painted by Yunlin Ni Zan'. One seal, 'Bingzhen'.Provenance: Dorotheum, Vienna, early 1980s. Konrad Lang, acquired from the above and thence by descent. The reverse with an old Dorotheum inventory number, '142-14367-/43'. Konrad Lang (1933-2014) was an Austrian painter and artist. Exhibitions of his works were held in Vienna, Linz, Rome, and other cities. Lang was also a passionate collector, focusing on decorative arts, prints, and old masters. Rocks and rock formations were among his favorite motifs, and it seems likely that he enjoyed the present lot as a source of inspiration.Condition: Good condition with old wear, soiling, small creases and losses, some with minor old touchups. Laid down on board and framed behind glass.Dimensions: Image size 62.5 x 44.5 cm, Size incl. frame 78.5 x 55.5 cm With an old hardwood frame.Auction result comparison: Compare a related painting by Jiao Bingzhen, 112.5 x 59 cm, at Sotheby's New York in The Roy and Marilyn Papp Collection Of Chinese Paintings on 14 September 2016, lot 572, sold for USD 200,000. 倪瓚(1301-1374)款《亭林遠岫圖》，焦秉貞(活躍於1689-1726) 鈴印中國，紙本水墨設色。峯巒疊翠，奇峯矗立，遠山奇峯崛立，空遠清曠；近處湖邊林間屋舍。款識：左上角“亭林遠岫圖，壬午重陽節前二日，雲林倪瓚作”鈴印：秉貞來源：維也納Dorotheum藝廊，上世紀八十年代初；Konrad Lang收藏，購於上述藝廊并保存至今。背面可見藝廊標籤“142-14367-/43”。Konrad Lang (1933-2014) 是奧地利畫家和藝術家。 他曾在維也納、林茨、羅馬等城市舉辦過展覽。 Lang也是一位收藏家，專注於裝飾藝術、版畫和古代大師。岩石和岩層是他最喜歡的主題之一，他似乎把現在的拍品作為靈感的來源。 品相：狀況良好，有舊時磨損、污漬、小摺痕和缺損，輕微的舊時修飾。玻璃裝框。 尺寸：畫面62.5 x 44.5 厘米，總78.5 x 55.5 厘米 硬木框。 拍賣結果比較：比較一件焦秉貞水墨，112.5 x 59 厘米，見紐約蘇富比 The Roy and Marilyn Papp Collection Of Chinese Paintings 2016年9月14日 lot 572, 售價USD 200,000。
Lot 184
A PAIR OF CHINESE SLEEVE VASES with flared rims, painted with scenes of warriors, impressed seal type mark to bases, 51.5cm high Condition Report : one badly broken and re-stuck, the other fine Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 134
A BLUE GLASS 'MALLOW' SNUFF BOTTLE, QIANLONG MARK AND PERIODChina, 1736-1795. The ovoid sides rising from a short spreading foot to a cylindrical neck. The bottle is finely carved on each main side with a large mallow blossom with curled edges, flanked on the sides by mask-and-ring handles, with a band of pendent palm blades to the neck and a band of lotus lappets above the foot. The transparent glass is of a vibrant dark-blue tone and shows neatly incised and wheel cut details. Finely incised four-character seal mark Qianlong yuzhi in horizontal script to the base and of the period.Provenance: Property from the Halim Time & Glass Museum, Evanston, Illinois. The Halim Time and Glass Museum opened its doors in 2017, showcasing over 1170 works of glass and time pieces. The museum, founded by Cameel and Hoda Halim, also displays its unique collection of works of art by Louis Comfort Tiffany.Condition: Excellent condition with minor old wear and tiny manufacturing imperfections. Note that the incised mark to base is slightly off balance.Stopper: Carved pink glass in imitation of rose quartz, mother-of-pearl platelet, possibly matching and from the Imperial glass workshops as well. Weight: 50.8 g Dimensions: Height incl. stopper 68 mm. Diameter neck 17 mm and mouth 9 mm.This bottle depicts the mallow which is associated with the successful scholar. Its Chinese name gui is also a homophone on the word gui for "honor". As such, the mallow flower is depicted on a variety of Imperial bottles made from different materials.Literature comparison: A number of bottles with this design are known, including several in different colors of glass in the Marian Mayer Collection, illustrated by R. Hall, Chinese Snuff Bottles II, London, 1989, nos. 86-90 and 93; one illustrated by H. Hui et. al., Hidden Treasures of the Dragon, Hong Kong, 1991, p. 61, fig. 111; another illustrated by Robert Kleiner, A Miniature Art from the Collection of Mary and George Bloch, Hong Kong, 1991, no. 95; and a white glass example in the collection of Denis Low illustrated by R. Kleiner, Treasures from the Sanctum of Enlightened Respect, Singapore, 1999, p. 101, no. 83.Auction result comparison: Compare a related 'mallow' snuff bottle, carved from golden glass, at Christie's Hong Kong in Important Chinese Snuff Bottles from a Distinguished American Collection on 7 October 2014, lot 13, sold for HKD 118,750 and another in golden-yellow overlay glass at Christie's New York in The Ruth and Carl Barron Collection of Fine Chinese Snuff Bottles: Part V on 13 September 2017, lot 345, sold for USD 15,000. 乾隆款及年代藍料葵紋輔耳鼻烟壺 Description: 中國1736-1795年。直頸，橢圓形側面，短圈足。 瓶身兩側精雕細刻各一朵大錦葵花，邊緣捲曲，兩側為輔耳和環柄，頸部蕉葉紋，足部上方有蓮紋。 透明玻璃呈充滿活力的深藍色調，邊沿和細節十分精美整齊。圈足内四字"乾隆御製"款。 來源：美國伊利伊諾州伊凡斯頓Halim Time & Glass Museum美術館收藏。Halim Time & Glass Museum 美術館2017年開放，展示了1170多件玻璃及時計藝術品。這個美術館由Cameel 及 Hoda Halim創立，同時也展出Louis Comfort Tiffany 的作品。 品相：狀況極好，有輕微的磨損和微小的製造瑕疵。 請注意，底部的款稍微不平衡。 壺蓋：粉紅玻璃，貝母蓋托，可能來自御用工坊 重量：50.8 克 尺寸：含蓋高 68 毫米；頸部直徑 17 毫米與嘴部 9 毫米 拍賣結果比較：比較一件相似的金色葵紋琉璃鼻烟壺，見香港佳士得Important Chinese Snuff Bottles from a Distinguished American Collection 2014年10月7日 lot 13, 售價HKD 118,750；另一件 金黃色套料鼻烟壺見紐約佳士得The Ruth and Carl Barron Collection of Fine Chinese Snuff Bottles: Part V 2017年9月 13日lot 345, 售價USD 15,000。
Lot 240
AN AUSPICIOUS 'MONKEY AND DEER' CUP AND SAUCER, XIANFENG MARK AND PERIODChina, 1851-1861. The tall cup with a short foot and everted rim, the saucer with deep rounded sides, each with gilt rims and painted in bright enamels with a monkey in a pine tree above a spotted deer with a lingzhi sprig in its mouth, surrounded by rockwork and further lingzhi, with a butterfly and magpies in flight. The bases each with an iron-red four-character seal mark Xianfeng nianzhi and of the period. (2)Provenance: The property of an English gentleman, acquired in the 1990s and early 2000s. The saucer with an old paper label, manually inscribed in brown ink 'No. 2. […]'.Condition: Excellent condition with only minor old wear and firing flaws.Weight: 72.0 g (the cup) and 82.9 g (the saucer)Dimensions: Height 7 cm (the cup), Diameter 12.7 cm (the saucer)The present lot is filled with auspicious imagery. 'Bird' (que) is a pun for 'noble rank' (jue), and magpies are traditionally associated with joy. The deer (lu) is both a homophone for riches or official emolument and a symbol of longevity and wealth. Lingzhi are also associated with longevity and therefore often depicted together with deer. Depictions of monkeys convey a wish for high rank, as the Chinese word for monkey (hou) is a homophone for 'high-ranking noble' or 'commander'. The word for butterfly (die) is homophonous with 'to repeat', so adding a butterfly to a scene repeats the wish of the other symbols. Butterflies are also seen as symbols of happiness in marriage, as well as everlasting romantic love, and can also symbolize a wish for long life. 咸豐款及年代猴鹿紋杯碟套 中國，1851-1861年。杯撇口，深腹，圈足；碟子深圓腹。杯碟套都是描金邊沿，明亮的琺琅繪製猴鹿紋：猴子蹲在松樹上，似乎在戯蝶；鹿啣靈芝臥在樹下。碟子圈足內四字鐵紅釉"咸豐年製"。來源：一位英國紳士的財產，於 1990 年代和 2000 年代初購置。碟子圈足內有紙標籤，用棕色墨水手寫"No. 2. […]"字樣。 品相：狀況極佳，只有輕微的舊時磨損和燒製瑕疵。 重量：杯子72.0 克，碟子82.9 克 尺寸：杯高 7 釐米，碟子直徑12.7 釐米
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